LilyPond Beginnershandleiding

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Hoofdstuk 3: Fundamentele concepten 60 The input is rather sparse, but in the output, bar lines, accidentals, clef, and time signature have been added. When <strong>LilyPond</strong> interprets the input the musical information is parsed from left to right, similar to the way a performer reads the score. While reading the input, the program remembers where measure boundaries are, and which pitches require explicit accidentals. This information must be held on several levels. For example, an accidental affects only a single staff, while a bar line must be synchronized across the entire score. Within <strong>LilyPond</strong>, these rules and bits of information are grouped in Contexts. We have already introduced the Voice context. Others are the Staff and Score contexts. Contexts are hierarchical to reflect the hierarchical nature of a musical score. For example: a Staff context can contain many Voice contexts, and a Score context can contain many Staff contexts. Each context has the responsibility for enforcing some notation rules, creating some notation objects and maintaining the associated properties. For example, the Voice context may introduce an accidental and then the Staff context maintains the rule to show or suppress the accidental for the remainder of the measure. As another example, the synchronization of bar lines is, by default, handled in the Score context. However, in some music we may not want the bar lines to be synchronized – consider a polymetric score in 4/4 and 3/4 time. In such cases, we must modify the default settings of the Score and Staff contexts. For very simple scores, contexts are created implicitly, and you need not be aware of them. For larger pieces, such as anything with more than one staff, they must be created explicitly to make sure that you get as many staves as you need, and that they are in the correct order. For typesetting pieces with specialized notation, it is usual to modify existing, or even to define totally new, contexts. In addition to the Score, Staff and Voice contexts there are contexts which fit between the score and staff levels to control staff groups, such as the PianoStaff and ChoirStaff contexts. There are also alternative staff and voice contexts, and contexts for lyrics, percussion, fret boards, figured bass, etc. The names of all context types are formed from one or more words, each word being capitalized and joined immediately to the preceding word with no hyphen or underscore, e.g., GregorianTranscriptionStaff. Zie ook Notation Reference: Sectie “Contexts explained” in Notatie-handleiding. 3.3.2 Creating contexts In an input file a score block, introduced with a \score command, contains a single music expression and an associated output definition (either a \layout or a \midi block). The Score context is usually left to be created automatically when the interpretation of that music expression starts. For scores with only one voice and one staff, the Voice and Staff contexts may also be left to be created automatically, but for more complex scores it is necessary to create them by hand. The simplest command that does this is \new. It is prepended to a music expression, for example
Hoofdstuk 3: Fundamentele concepten 61 \new type music-expression where type is a context name (like Staff or Voice). This command creates a new context, and starts interpreting the music-expression within that context. ☛ ✟ Note : \new Score should not be used as the essential top-level Score context is created automatically when the music expression within the \score block is interpreted. Score-wide default values of context properties can be changed within the \layout block. See Sectie 3.3.4 [Modifying context properties], pagina 63 ✡ ✠ You have seen many practical examples which created new Staff and Voice contexts in earlier sections, but to remind you how these commands are used in practice, here’s an annotated real-music example: \score { % start of single compound music expression % end of LH staff >> % end of simultaneous staves section } % end of single compound music expression
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LilyPond Beginnershandleiding Het L
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Hoofdstuk 4: Tweaking output 141 %%
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Appendix A: Templates 145 \melody }
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Appendix A: Templates 147 \score {
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Appendix A: Templates 149 } \layout
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Appendix A: Templates 151 %%%%% (Th
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Appendix A: Templates 153 Violin 1
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Appendix A: Templates 159 altonotes
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Appendix A: Templates 161 } \clef "
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Appendix A: Templates 163 > % End S
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Appendix A: Templates 165 dot = \ma
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Appendix A: Templates 167 A.5 Orche
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Appendix A: Templates 169 } \new St
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Appendix A: Templates 171 } \overri
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Appendix A: Templates 173 tenorNote
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Appendix A: Templates 175 } } } Dis
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Appendix A: Templates 177 \header {
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Appendix A: Templates 179 } trombon
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Appendix A: Templates 181 } down =
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Appendix B: GNU Free Documentation
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Appendix C: LilyPond register 191 \
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Appendix C: LilyPond register 195 t
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